The Hurt Locker By Kathryn Bigelow

1879 Words8 Pages
In classical Hollywood cinema, style, space, and time are unified and uninterrupted. These elements come together to match the viewer’s sense of time and space in reality. This is achieved through the use of many techniques such as the 180-degree rule, point-of-view shots, a lack of jump cuts, and other unobtrusive filmmaking techniques. Using these techniques allow the audience to associate with the main characters in the film. For example, the use of point-of-view shots allow the viewer to see the action from the characters’ perspectives giving the audience a sense of connection with the actors. Similarly, obeying the 180-degree rule allows films to have continuity in which there is no disruption in the viewers sense of location or…show more content…
The camera moves in a hand-held documentary style which allows the characters and the action to enter in and out of the frame. The editing also achieves a fast-paced documentary style. For example, the opening sequence reflects this editing with lots of faced paced, sometimes random jump cuts. The editing in this scene — as well as the rest of the movie — reflects much of the chaos that is occurring. However, in the opening sequence Bigelow slows things down by using a camera that shoots at 58,000 frames per second. She uses this camera to capture the first bomb’s blast radius and deadly impact. Juxtaposing this extreme slow-mo sequence with the fast-paced cuts that happened just before causes a distortion of time for the viewer. After seeing such rapid editing, the audience is momentarily forced to really absorb the force of the explosion. The detailed shots of rocks lifting from the ground and rust separating from a car’s frame provide a contrast with the rest of the film. The rest of the film maintains a documentary style, meanwhile utilizing the geography of the setting to convey a sense of uncertainty in the audience. The surroundings are conveyed not only through very tight shots, but also through very wide ones. In a discussion with David Pendleton, Bigelow said of the film, “…it’s a geographic-centric piece because the audience as well as the bomb tech needs to know where you are in relation to the IED at all times, and that’s what kind of
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